When Crivelli was thirty-eight years old, he was condemned to six months' imprisonment and to a fine of two hundred lire for an outrage on a neighbour's wife. Perhaps it was to escape from an unenviable reputation that he left Venice soon after and set up painting in the Marches, where he lived from 1468 to 1473. He then went on to Camerino in Umbria, where his great triptych, now in the Brera, was painted, and a few years later he was in Ascoli, with a commission for an Annunciation in the Cathedral. This is the picture now in the National Gallery, in which the Bishop holds a model of the Duomo. After 1490 he worked in little towns in the Marches, and is not mentioned after 1493. He does not seem ever to have come back to Venice. Shut up in the Marches, where there was little strong local talent, and where he could not keep up with the progress that was taking place in Venice, he was obliged himself to supply the artistic movement. He kept the Squarcionesque traditions to the end, but moulded them by his own love of rich and exuberant decoration. Moreover, he was of a very intense religious bias, and this finds a deeply touching and mystical expression, more especially in his Pietàs. The love of gilded patterns and fanciful detail was deep-seated in all the Umbrian country. His altarpieces were intended as sumptuous additions to rich churches, and were consequently arranged, with many divisions, in the old Muranese manner. His great ancona, in the National Gallery, is a marvel of elaborate ornament and enamel-like painting. The Madonna is delicate, almost affected in her refinement. Her long fingers hold the Child's garment with the extreme of dainty precision, the croziers and rings of the saints and bishops are embossed with gold and real jewels. The flowers in the panel of "The Immaculate Conception," which hangs beside it, are twisted into heads of mythological beasts and grotesques or cherubs; but Crivelli has plenty of strength, and his male saints have vigorous, bony limbs and fierce fanatical eyes. It is, however, in his colour that he charms us most, and though he does not touch the real fount, he is of all the earlier school the most remarkable for subtle tender tones and lovely harmonies of olive-greens and faded rose and cream embossed with gold.